How to define and classify "Progressive Rock"? |
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tamijo_II
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David_D
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If you haven't read my article (the OP), Prophesy, I could recommend it very much, and then, arguing for your point of view as criticism of my understanding of the whole defining process. To begin with, I'd say, the whole matter is very philosophical.
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quality over quantity, and all kind of PopcoRn almost beyond
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I prophesy disaster
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I've read the OP, and was going to comment on it earlier but didn't get around to it. I was going to say something along the lines of your definitions relying heavily on hindsight, which may be an easy approach but not necessarily a good approach. And yes, the whole matter IS very philosophical. And that's the way I like it. |
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No, I know how to behave in the restaurant now, I don't tear at the meat with my hands. If I've become a man of the world somehow, that's not necessarily to say I'm a worldly man.
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David_D
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Ookaay, then it would be very interesting to see your arguments for this point of view.
Edited by David_D - December 19 2021 at 02:29 |
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David_D
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Or we could start with examining your suggested point of view, and if so, there's a question on what basis to decide which "type of music or perhaps an attitude towards music"? By the way, sorry if my view of Pawn Hearts wasn't pleasant for you to hear. Edited by David_D - December 19 2021 at 05:46 |
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moshkito
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Hi, "Definition" of any music, has pretty much been what music history is all about, going way back to 1400's and 1500's, so us thinking that history is irrelevant seems to be a bit strange. The big issue is that we compartmentalize a lot of music as being this or that, to the point where we lose the ability of actually hearing anything else and make an honest and clear decision to what it approximates. To me, "progressive" music, is only that when it improves, changes and gives us something else that we HAVE NOT HEARD BEFORE, thus being a good candidate for being considered "progressive". However, in the past many years, it has been not about the difference in the music, but how much it sounds and looks like something else, and to me, THAT IS NOT PROGRESSIVE at all. This is the main reason why I ask for a better and more detailed definition for what "progressive music" is, so that the idiotic comparison to something else as being close or almost is out of the equation which is how music is classified these days, even when most folks LIKELY have not heard a lot of the other stuff in order to make a good and honest decision, beyond their preferences.
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Jaketejas
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Bill Bruford gave an interesting lecture about 10 years ago on Prog music which is worth watching. Adopting technology is definitely a part of Prog, whether one likes it or not. And, while drummers were far ahead of electronic drum machines in the early stages of Prog, nowadays electronic percussion can hit precision beats in time signatures no human could ever play. Prog folks have, perhaps unbeknownst to them, even had algorithms developed around their sound.
I suppose there will always be a split in the definition of Prog between some of those in the purely human instrumental camp and some who are programming away on the electronic side. There are those who struggle to blend both aspects. And, this isn’t limited to percussion. Just about every instrument on the planet has been digitally modeled and can be easily accessed in software. At this point in time, one would hope that a human is at least behind the Prog music composition. That’s no guarantee moving forward, as artificial intelligence (AI) is already throwing out chord progressions, melodies, harmonies, and beats. Should one embrace that technology? Where does one draw the line? Some artists like randomness and emulating sounds found in nature. For some artists, there is a blurry line in experimenting with noise within music. In this sea of infinite new technology, where it would take many lifetimes to even explore available sounds (which are doubling at a rapid rate), I think “Prog” artists (whoever they are and whatever they are tinkering with) should pursue their own definition of their art, and let the chips fall where they may. I remember when my child was two years old and had the idea that a “surprise” automatically meant chocolate. When I brought back a surprise from a trip that was a snow globe, she said “That’s not a surprise!” and proceeded to cry. I think categorizing Prog is a bit like that. Each individual has different ideas. The people who analyze music for the different genres let alone progginess (whatever that may be to an individual) have an extremely difficult task. Prog is probably not merely technical prowess. Otherwise, most classical music, jazz, and world music would be Prog. It isn’t just texture either, or every EMO band would suddenly be Prog. Some would say Prog ended in the 1970s and that we just have waftings of Prog thereafter and nowadays. That seems a bit generational, but if that’s your definition, so be it. Others have a wider net with different degrees of inclusiveness. We all know what this is really about. It all comes down to the question that has troubled the Prog community since the turn of the decade … 70s/80s. Is Asia Prog? |
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moshkito
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Hi,
About the technology ... and how far it has come. There was, a while back, some university that "taught" a machine to compose music in various styles and then, even to mix the styles. One sunny day, they decided to see how folks reacted to it all, and didn't tell the folks anything about the music itself ... just let them hear it. A new composer! And many liked it and said so ... until they found out it was a machine and then took back their words! The idea/point is, that technology is not the issue. The creativity surrounding it, IS. But I draw the line ... for example, band xyzzzz uses a lot of effects in their guitars and drums. You know, that if you wished to find out how good they were, you would unplug everything and then listen, and you would find something that is poor, compared to what you know about music. Likewise, there are many bands that "rely" on cheap effects (you can buy them on the net) and they are considered progressive, and yet, the true test is the mastery of the material and playing it live without electricity. The great ones have shown how good they still are "unplugged" ... and we're (FINALLY) finding out that it was not just the show for Keith. There was some serious musicianship behind it, and even Rick is now doing piano versions after hearing how strong some things by Keith sounded like. Ian doesn't need to go "unplugged" since a lot of his music already is. KC, is not like to be "unplugged" until Mr. Fripp leaves us. His control of his own music won't allow different things, and he has a right to do that, but I won't be around to hear it, so no concerns there. I think that we just have to learn to feel the music, and leave it at that. I'm not sure that I would like to hear a new this or that, only to find out that a computer did it on its own ... I think I would imagine that the machine sure had some personality, which was built into it, to express itself in various different terms. But, I would not be cynical enough to take my comments back. It's really rare when I dislike anything "musical", and even hearing Faust play sticks on cement drums, was not great, but it obviously was fun, and you and I would have a field day with it, drunk, stoned, or otherwise just being silly to enjoy our last days! Edited by moshkito - January 16 2022 at 09:26 |
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Jaketejas
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I enjoyed reading your post, and I tend to agree on this key point you made. I should’ve also clarified the differences among electronic instruments, electronic effects, and computer-generated music. I grew up during the 70s/80s transition. I love music ranging from acoustic music “unplugged” to heavily electronic processed. But, in both cases, humans are behind the creative process. Electronic instruments are either being struck in real time by a human or programmed note by note. And, effects are added for texture and dynamics. If you played either on a piano, it would likely sound great. Computer-generated music really bothers me, though, because music to me should come from the heart. I am also bothered by people sampling other people’s music, because I grew up primarily on original music, and writing/recording original music is really tough. Society has its trends, for better or worse. I agree with you on the creativity aspect. That, to me, holds one key to Prog music. That’s not to say that other forms of music lack creativity. Certainly, most genres have creativity in droves. Prog, to my ears, is a very open canvas with an endless palette. There is much freedom in the creativity of Prog. That is different from some forms of music. |
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Philchem8
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Interesting article David_D and it's elicited a lot of thought-provoking opinions that I would think are germane to the essence of this site. The elusiveness of an agreed definition of progressive rock is something I was recently reflecting about when considering the comments in a discussion I created on Procol Harum's contribution to prog-rock. It became increasingly evident to me that peoples' contributions to this discussion reflected their implicitly-held views of the boundaries of prog-rock (and the extent to which PH existed within these boundaries), though no-one articulated any particular definition. If you see that thread, I would be curious to know whether you think PH would fall within your definition of prog-rock. It appears to me that it would, as your definition is relatively inclusive, without being too broad I think.
Looking at the comments on this site, I don't think I have listened to as much prog-rock music as many others here or that I am as knowledgeable on the topic. However, in theory, your definition and the sub-genres make sense to me. One element I may suggest to add to the definition concerns the lyrical aspects of prog. Of course, prog does not need to have lyrics and there are many classic prog instrumentals or near-instrumentals. But when it does include lyrics, I find that prog tends to err on the side the abstract, esoteric, metaphysical, and/or [pseudo-] philosophical (many would say pretentious, but it depends). I would not say that a song is NOT prog just because its lyrics do not have these characteristics, but rather that such lyrical qualities contribute to the "progressiveness" of the song, on the understanding that the music itself is overall a more decisive factor in determining whether it is prog. Whether or not one considers lyrics in a definition of prog-rock, as mentioned, I broadly agree with the definition and the sub-genres you listed (though I noted someone suggested the sub-genres themselves would need more defining). However, I suggested earlier that it was a good definition "in theory" because I think the difficulty comes when applying the definition to try to categorize music and bands (though if I understand you correctly, the definition would not necessarily apply to bands?). One point I made in the aforementioned Procol Harum thread is that, in my view, any music genre is to some extent fluid, evolving, and overlapping with other genres, and that one could categorize a piece of music as prog-rock only up to a certain degree and in relation to others. What I mean is that while a community could agree that prog-rock should be a synthesis of rock and at least another main genre, say classical music, the question of "the degree to which" this other genre should be present in this synthesis is one that would be very difficult for any such community to agree on. I assume, for example, that the violin playing on The Verve's Bitter Sweet Symphony would not be sufficient to make that song "prog-rock" to the ears of most prog-heads. But perhaps with a few additional melodies on the violin, and an extended instrumental in the middle, this song could be considered a prog track. As another example, under the PH discussion, some didn't consider that the band's use of the Hammond organ to create classically-sounding melodies was sufficient to make PH's music "prog-rock", while others did. Similarly, the criterion of "complexity", which is another important part of your definition, is another one that makes sense theoretically, but is bound to cause disagreement and confusion when applied. My point here is not that the definition needs to be changed or refined, but to suggest that in practice it would help to define some, but not all, music that could potentially be prog-rock, and that it may be more useful in defining "to what extent" a piece of music is prog-rock as compared to another (for ex. to what extent it is complex and integrates another main genre), rather than determining whether it is prog-rock or not. Edited by Philchem8 - January 17 2022 at 17:25 |
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moshkito
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Hi, I like to joke that the folks that created that "definition" are not music listeners. They (obviously) know the 5 bands they like, but they have not given a reasonable listen to other things out there ... it ends up being something like ... Beethoven is fine and Mozart is crap ... after all, which one of us is silly enough to waste their time on Mozart when you can have Ian Anderson, Jon Anderson or Keith? If these folks DID hear other things, I imagine that their "favoritism" would be quite different, but you can see it on this board ... many will only say they like or dislike, and nothing else, and to me that says NOTHING about the music, in other words, they likely have not heard it with a reasonable ear! It's been like that in the Internet for 30 years, and with sites like PA, it might yet change some as people hear more and find more ... but the old definition has to go down the river and wash itself out!
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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David_D
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Thank you very much for your extensive comment, Philchem, which I'd say concerns some central aspects of my definition.
I find it to be good that my definition is not particularly precise, as it leaves a lot of possiblity for subjective interpretation, so one can make individual choices whether to consider some musical work being Progressive or not. But the criterias, the definition point at to be fulfilled, must of course be present to a very significant degree. It's a minimum definition, so all the criterias must be fulfilled, which is for instance the reason for not mentioning anything about the lyrics, as like you self do, I won't consider them as necessarily having certain character. Regarding Procol Harum, I must say, I'm not an expert in concrete musical analysis, so actually I'm not the best one to answer your question.
Edited by David_D - January 18 2022 at 15:58 |
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David_D
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All I can say here is that the evaluation of PH's contribution to Prog Rock can't be done much otherwise than in relation to what Prog should be considered as.
Edited by David_D - January 19 2022 at 04:56 |
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Philchem8
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Thanks David for addressing my points. I understand all you are saying and was just sharing some thoughts. Upon reflection, I agree the lyrics should not be part of a definition per say, but would be one of the elements to consider if we were trying to identify key characteristics of progressive rock. I understand this not your focus. Still, when you suggest that the definition would leave to subjective interpretation what is and what is not prog-rock, I can't help asking myself how useful it is then to have a definition. Not that I think it is not useful or valuable but maybe to a more limited extent than identifying key characteristics and discussing the degree to which they should be present, an admittedly complex exercise.
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David_D
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No, it's not quite what I meant, Philchem. A definition must be a good guideline to what should be considered as Prog, but on the other hand, it's fine with some elements for subjective interpretation which leaves possibility for certain individual choices, concerning where exactly to draw the line between Prog and not-Prog. - But a more precise definition can of course be an option, even I can't imagine that it could be possible to eliminate all subjective interpretation.
Edited by David_D - January 20 2022 at 16:35 |
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moshkito
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Hi, Let's look at this ... let's take on "chamber music" ... it has a solid definition. "Concerto" has a solid definition suggesting a live performance, although a lot of Mozart would make you and I think that many of these were all adlib compositions. "Symphony" has a solid definition. "Jazz" has a solid definition, and its many variations do not detract from the definition at all ... although I still think that too many of them are about "sound" and not the music itself. But "jazz" is less of a problem since it is more acoustic than almost all rock materials these days, many of which would not stand up to scrutiny, if you unplugged the effects ... in school, you would get a D for it and not get any help from the instructors! But with the loudness and effects, it makes a lot of money, so we can take the definition and shove it down the toilet! The progressive "definitions", almost all of them, were done by people that were not music listeners. They were done by folks that wanted to show their favorite bands even better, and they succeeded well, in the respect. However, as serious music goes, they have been laughed at a lot, although these days, folks like Daily Doug and others are finding that there are some very nice things in the music ... 5 minutes worth, when Mozart has hours and hours and Beethoven has hours and hours ... and a lot of the top ten, is not about its compositions ... (in general) but about its fame, fortune, and voting fans! Drawing a line between Prog and non-Prog, right now is ridiculous, because Prog is one of the worst definitions and not a well thought out idea. And the best example of this is the insanity that the progressive and prog thing has had "special" instruments, some in color, that helped bring the music about ... which is incredible. I didn't get to YES because of a blue guitar that did not even come until 10/15 years later ... or any other silly remark about instruments ... it's like saying Mozart made the violin famous, and everyone else crapped out ... the violin was there before and continued after, and the bizarre definitions that we have do not describe the "music" at all ... they describe 5 songs, so to speak.
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Music is not just for listening ... it is for LIVING ... you got to feel it to know what's it about! Not being told!
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David_D
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All I can say, moshkito, is that you look at it in another way than many others, including the academic books that have been written about Prog, and which I give an account of in my article.
Edited by David_D - January 20 2022 at 09:17 |
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Jaketejas
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I think that was the premise for the movie "Canadian Bacon". They were trying to steal Kansas! I appreciate the amount of time that went into putting together this definition of Prog. Unfortunately, it leaves out some of the subgenres on the site, but it is quite good nonetheless. Of course, there will always be prog-music that doesn't quite fit the mold, and the word "progressive" in fact has connotations that there will come about music that does not fit the mold. I remember asking a friend about their definition of prog, and I was thinking I would get a long-winded explanation about the history of prog, with proto-prog, the Big 6, etc. The answer was simply "It's rock that's got some keyboards in it." As you can imagine, it made me chuckle. But, it just re-emphasizes that each person has their own definition of prog. For all my verbal jousting in the past on this site, I came to realize that the folks managing the different subgenres of Progarchives do a very good job at this classification task. The definitions provided on this site approach "as good as you can get" at trying to classify the wibbly wobbly timey wimey thing that is Prog. If there were no attempts at this, then Progarchives would cease to exist. So, we need a definition of Prog, and we need definitions of the different subgenres of Prog. We may need to add more subgenres in the future, and that's fine. Probably, in terms of the general definition of Prog, broader and more inclusive is better IMHO rather than having endless skirmishes about certain bands that keep getting brought up. I joked about Asia, but if you go to their Wiki site, all their albums are listed as Progressive Rock. And, to me, their sound is quite comparable to the middle period of Genesis. When opinions clash, hairs are split. For those who are primarily interested in the most well-known and well-accepted bands carrying the Prog mantle (e.g., the Big 6 ... basically, any band that Bill Bruford was in plus a couple of others), and fight for that high bar, there can certainly be one bright spotlight on them. But, you have to be careful with high-pass filters. There should be other spotlights, too, and the fora (or forums, if you prefer) are good at doing just that. We no longer live in an age where record labels provide artists with funding, studio time, and engineers and allow them to experiment for a couple or few albums to let the artists develop their chops or sound as they tour incessantly. That age is long gone. The folks aimed at making Prog music (of whatever form) in this age face a completely different environment and different headwinds. A lot of them are consummate DIY, and also need support. These are things I think about when people start bandying about new definitions of Prog. Edited by Jaketejas - January 20 2022 at 12:26 |
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David_D
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Thank you very much for your posts, comments and some very good reflections in this thread, Jaketejas. And yes, there exist certainly quite exactly definitions of the various Prog sub-genres, both on PA and RYM, and the main purpose with my definition attempt was, and still is, to point at some common aspects of them and thus tight them together, and contribute to legitimize their usage. At the same time that provides a short and easy to do with definition of "Progressive Rock" itself.
Edited by David_D - January 21 2022 at 08:28 |
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David_D
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Edited by David_D - January 21 2022 at 08:28 |
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